Describe your influences My main influence has been my own personal struggle with perfectionism and how this relationship with perfectionism controls my practice. I began my work with the perfect graphic black and white stripe, which I had to force myself to distort. I then began to layer the stripe with neon colours, which were cut and draped. These exercises took the perfect, but lifeless graphic stripe and gave it complexity and life - through movement the stripe is never seen in the same flat way as I have created an optical illusion that sculpts the stripe around the body. I have taught myself over my Masters that I am not in pursuit of a deadened perfection - which stifles my creativity and personality - I must go beyond perfectionism and allow myself to create energetic clothes that truly represent me.
What does the future of fashion look like? I believe in quality over quantity. In the current economic climate, the consumer should be more conscious and buy more carefully, with an emphasis on clothes that are beautifully and creatively made, will last longer and be more personal to them. I hope that a more knowledgeable consumer mindset will encourage the industry to forward into a this positive direction.
Best moment of the MA? My best moments have been learning that imperfections and experimentation bring out the best within my work, and that being open to, and embracing the unexpected avenues my collection has evolved into has only made it stronger. There is nothing like worrying that everything has gone wrong, and then realising that those mistakes have transformed my work into something original with great energy and movement.
What’s next? I aim to work for a luxury design house specialising in knitwear with a graphic aesthetic, with the eventual goal of setting up my own label.